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ENGLISH DOMESTIC ARCHITECTURE , 
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OF THE XVII AND XVIII CENTURIES j 


GLEN G. MOSHER 


ENGLISH 
MOVES TIC ARCHITECTURE 


She rHE XVII AND XVIII CENTURIES 


PeeeeeECIION OF EXAMPLES OF SMALLER BUILDINGS 
MEASURED DRAWN AND PHOTOGRAPHED 
WET SAN SINTRODUCTION 
ANDSNOTES: BY 


HORACE FIELD anp MICHAEL BUNNEY 


ELLOWS OF THE 


NEW AND REVISED EDITION 


(eeu ee LEV ELAN DO. 
1928 


First published, December 1905 
Second Edition, Revised and Reset, 1928 


PREFACE TO FIRST EDITION, 1905 


WE desire to record our thanks to all who, either by their advice and sugges- 
tions, or by the loan of drawings, have assisted us in the preparation of this 
work, and specially to Mr Temple Moore, Mr T. R. Bridson, Mr C. C. 
Makins, and Mr A. G. Scott. 

We also wish to express our indebtedness to the owners and occupiers of 
the buildings illustrated for their kindness in allowing free access for the 
purpose of taking measurements and photographs, and, lastly, to Mr Edward 
Bell for the trouble he has taken in supervising and arranging the Plates, and 


for his help in regard to the text. 
HORACE FIELD. 


MICHAEL BUNNEY. 


NOTE LOroeCOND EDITION 


IT seems fitting that, having just passed the year of its majority, a second 
edition of this book should be published, and it is with satisfaction we find, 
in spite of the number of books dealing with this period which have been 
issued since this volume was prepared, that it is still in demand and has 
not, therefore, belied the promise of its youth. 

When the text was written, now more than twenty years ago, the building 
tradition embodied in the works of this period had hardly begun to recover 
the great influence it now exerts upon domestic architecture, and it was some- 
what in the nature of pioneers that we approached the task. 

Times have changed and advocacy now is not required, nevertheless we 
consider it better to leave the text unaltered, and we are the more confirmed 
in this, because there are no statements that need correction either in the 
descriptions of the plates or in the short chapter on “The Renaissance 

Vv 


Evolution in England.” For this new edition, however, the book has been. 
rearranged so as to bring the plates and the text relating to them together. — 

Since this book was first published some of the buildings lyst h 
been destroyed, and others wil, in 1 time, share the same fate, ae: 


English Renaissance. 

In carrying on the tradition of this period, an example is set 
generations, by following which; and building on such sound a 
foundations, they may, while developing this style to suit the ev 
conditions of modern environment, preserve it from destruction 
fresh life into its spirit and principles. 


erO NS ENTS 


INTRODUCTION ; 5 , 
THE RENAISSANCE EVOLUTION IN ENGLAND 
NOTES ON THE ILLUSTRATIONS 


PLATES AND DESCRIPTIONS 


PAGE 
THE MANor House, PouLTon . ; Sap 29 
THe BeaurortT Dower House, MonmoutTH 24 
Tue Town Hatt, Monmovtn . : anges 
Ha.u’s ALMSHOUSE, BRADFORD-ON-AVON . 26 
St CLEMENT’s ALMSHOUSE, OXFORD. et 26 
Meprorp House, MICKLETON . : Re eae) 
OLD Rectory House, Burrorp . ; Zo 
HOUSE NEAR THE CHURCH, PAINSWICK a A. 
Dover House, PAINSWICK . ; pad ee 36 
SAMUEL SALTER’S House, ‘TROWBRIDGE 40 
Tue Manor House, TINTINHULL ‘ See 
THe Dower House, Wooprorp. : ae 
House aT EAMONT-BRIDGE, WESTMORLAND. 49 
CASTLETON HALL, NEAR ROCHDALE. eat) 
Lioyps BANK, CIRENCESTER d : leiegy 
Tue Market House, TEeTsury . : Vat: 
A STREET AT TETBURY . ‘ ; == 50 
COXWELL STREET, CIRENCESTER . : Syria 
SCHOOL AT CIRENCESTER . : : ecxkt) 
House AT LECHLADE . : : : sae 
LINDEN Houser, CIRENCESTER. : nest oe 
A House at BLOCKLEY . : 2 cb oe 
THE SHip INN aT MERE . : : a 
House at WINCHCOMBE . : : fen Oe 
THE LATIN SCHOOL, WARMINSTER. = OO 
HousE OVERLOOKING THE CHURCHYARD, 
CIRENCESTER : 4 : : 20268 


House IN VICARAGE STREET, WARMINSTER 

THe Court, Hoit, WILTs 

A FARMHOUSE NEAR CASTLE CARY 

No. 3 ALL Saints PLAcE, STAMFORD . 

‘THE BROMLEY ARMS, ELLASTONE 

CENTRAL PART OF THE BLUECOAT SCHOOL, 
FROME : : é 

BANK House, WooTTON BASSETT 

A House IN BISLEY STREET, PAINSWICK 

LEBURN House, BAMPTON . 

Warcop Hatt, WESTMORLAND 

House IN KING STREET, LYNN REGIS 

KIRKLEATHAM HOSPITAL, NEAR REDCAR 

CULVERTHORPE HALL, NEAR SLEAFORD 

THE BuTTER MarkeET, BARNARD CASTLE 

Buncay BuTTER MARKET, 1789 . 

THE Masonic Rooms, BLANDFORD FORUM . 

THE OLp House, BLANDFORD FORUM 

THE FREE SCHOOL, WATFORD, Herts . 

A House at DITCHINGHAM, NORFOLK 

THE Town Hatt, AMERSHAM 

THE SCHOOLHOUSE, RISLEY . 

ReppIsH HousE, Broap CHALKE, WILTS 

HeEALE House, Wooprorp, WILTS 

LONGNOR HALL, NEAR SHREWSBURY, AND 
TWO SUFFOLK HOUSES . 

HousE NEAR THE CHURCH, NEWENT 


Vil 


PAGE 


PAGE 
70 


IIo 
Lit 


Tue Custom House, DARTMOUTH 

CARSHALTON HOusE, SURREY 

THe CHARITY SCHOOL AT DENHAM 

STABLES AT FROGNAL, SIDCUP 

THE LATIN SCHOOL AT AYLESBURY 

A House at NEWENT, 1695 

CHAPEL AT STANDISH HALL, NEAR WIGAN 

Ryves ALMSHOUSES, BLANDFORD 

WRENCOTE, CROYDON 

FOxDENTON Ha._, LANCcs . : : 

BisHop SETH WaArRD’s HosPiTaL, BUNTING- 
FORD . : : : 

COLLEGE OF MATRONS, SALISBURY 

CLIFFORD CHAMBERS, NEAR STRATFORD-ON- 
AVON A ; 

BROMLEY COLLEGE, KENT . ; 

THE ALMSHOUSE, WORMINGHALL, BUCKS 

CurIsT’s HospiTaL, ABINGDON 

HousE NEAR THE Matson Dieu, DOVER 

TOMKINS’ ALMSHOUSE, ABINGDON . 

THE GARDEN House, EBRINGTON HALL 
GARDEN HOUSE AT POUNDISFORD PARK, NEAR 
TAUNTON . : ‘ : : 

LEAD WoRK AT POUNDISFORD PARK . 
House AT ASHBURTON, DEVON , : : 


PAGE 
112 


TEs 
I2I 
122 
124 
125 
126 
128 
a 
133 


133 


House AT BRIDLINGTON, YORKSHIRE 
Houses AT BECCLES, SUFFOLK . : 
STANFORD DINGLEY REcTORY, BERKS . : 
RUTLAND LODGE, PETERSHAM . ; ; 
Two Houses aT SAWBRIDGEWORTH, HERTS . 
HovusE NOW USED AS A BANK AT NEWENT . 
A STREET IN WOOTTON BassETT ; ‘ 
HousE AT GUILDFORD, SURREY . : , 
A STREET AT WEST WYCOMBE . ; : 
THE OLD CHURCH, UPTON-ON-SEVERN , 
A Bripce aT NEwsury, BERKS . : ; 
Two Houses at HIGH WYCOMBE ; : 
A House at WOOLSTON, BUCKS . : ; 
Tue Ketron Ox INN, YARM . ; : 
Houses at EVESHAM, BRIDGENORTH, AND 
HARLESTON . : ‘ : ; 
A House IN THE HIGH STREET, TEWKESBURY 
A PLASTERED HOUSE AT FRAMLINGHAM : 
A House aT PARHAM, SUFFOLK . 3 : 
GARDEN HousE, CUBBINGTON . : : 
A Doorway AT CIRENCESTER. : ‘ 
A Doorway aT West WYCOMBE j ‘ 
A GarDEN Door, CARSHALTON HOUSE : 
St WILLIAM’s COLLEGE, YORK . : A 
A Group OF RENAISSANCE Doors ‘ : 


Vill 


ENGLISH DOMESTIC ARCHITECTURE 


INTRODUCTION 


S° much attention has recently been directed to Renaissance Architecture in 
England that it may seem superfluous to add another volume to its literature. 
The subject is, however, of the greatest interest, and has practically only been seriously 
dealt with in the case of the larger mansions and buildings of the period. 

After careful study of some of the minor buildings of the late seventeenth and 
early eighteenth centuries in England, we now publish the results in the hope that by 
so doing we may interest both those who are already acquainted with the work of 
the period under review, and many others who have never studied it, and are therefore 
ignorant of the simple and dignified character displayed in the less important buildings 
of this time, which makes them worthy to rank with the very best examples of any age, 
and bears on it the characteristics of restraint and solidity, making this style as dis- 
tinctively English as any in the history of our architecture. 

Tradition in art is of the greatest importance, and, as hereafter will be shown, it 
is to its influence that the buildings herein illustrated owe their general high level of 
excellence, an influence too often lacking in the more ambitious buildings of the 
period. By tradition in building is meant the handing down of recognised archi- 
tectural forms from generation to generation; tradition is conservatism in art, the 
conventional expression of the thought and ideals of any age, in stone, wood, or other 
material, an expression which satisfies the workers of the period as being the best. 

Work on such definite lines must have made the general high level of artistic 
effort easier to maintain than in the present day, when there is no traditional mode of 

expression and every man is a law unto himself. 

In the Middle Ages the erection of, say, a new cathedral by some master-hand 
could not fail to have an influence on contemporary ideas, and, doubtless, alterations 
in detail, plan, or what not, would be copied; hence changes would take place in 
general practice, changes almost imperceptible at the time, like the slow growth of an 
oak tree, and thus the progression, though so sure, was gradual until the sixteenth 


century. 


The fall of Constantinople and the revival of classic learning were at last felt in 
England, and resulted in the grafting of ill-digested classical forms on to the style of 
architecture then in vogue through the influence of Italian and German artificers. 
At first sight this might appear to be a complete break with traditional English work, 
and indeed in many buildings, such, for example, as Wollaton, it may almost be said 
that tradition was lost; yet in the majority of the more important buildings from the 
sixteenth to the middle of the seventeenth century, traditional forms are still main- 
tained, though changes in style were more rapid than in medizval times. 

In the middle of the seventeenth century the building of the Banqueting Hall in 
Whitehall by Inigo Jones, after his second visit to Italy, may be said to be the first 
complete break with tradition; but the work of this period as a whole had not lost its 
national character, and buildings were being erected all over the land in a style founded 
on unbroken tradition. And this may be said to have continued well on into the 
eighteenth century, and indeed in out-of-the-way places, in smaller buildings not 
requiring any particular design, it lingered on till the beginning of the nineteenth 
century, after which time, for all practical purposes it ceased to exist. 

Books were published in the eighteenth century and onwards which were com- 
pendiums of all styles. From these the intending builder could choose the one 
which suited him best, and, as might naturally be supposed, the resultant designs 
had little to recommend them. 

Following the Italian Renaissance comes the pure Classic or Greek revival in- 
augurated by the work of Stuart and Revett. Side by side with this arises the dawn 
of the Gothic Renaissance, which attained its full power in the middle of the nineteenth 
century. 

As early as 1747 Horace Walpole built for himself Strawberry Hill, which was 
supposed to be in the Gothic style; and at about the same time Batty Langley 
published books dealing with this style. 

It is interesting to note these facts as they indicate the first symptom of the unrest 
which was beginning to be felt. At the time, no doubt, this return to quasi-Gothic 
work was not generally recognised as heralding a serious and far-reaching revolt 
from classicism in architecture, any more than were the writings of Burns regarded 
as paving the way for the Romantic revival in literature illustrated by the works of 
Scott, Byron, and others, a movement which was closely connected with the Gothic 
propaganda of Rickman and Pugin. 

It was partly upon these so-called Gothic buildings, and perhaps more upon 
Classic Architecture, that Pugin and the other thoughtful workers of his time made 
such a fierce attack. 

Had there been any really traditional style, even of the meanest kind, we should 
have no hesitation in considering their crusade unnecessary and therefore wrong, but 
the state of the Arts was such that a revolution of some kind was inevitable, and it is 
to be welcomed for the sake of the enthusiasm and discussion it aroused, narrow as the 
views of the reformers may have been. 


2 


In 1842, Welby Pugin writes: ‘‘We can never deviate one tittle from the spirit 
and principles of pointed architecture.” What view can be more narrow and 
impossible? No doubt the absurdities under the name of architecture which were 
being built all over the land almost seem to justify such a dictum. It is possible also 
that he never realised that there was any traditional style in England later than 
pointed architecture, and therefore went back too far, making the cure almost as bad 
as the disease. 

The crusade was also preached against a Classic style laid down by rules of 
proportion to be learnt from the study of old examples, useful, no doubt, in one way, 
namely, that the merest tyro, with learning, might produce a facade of reasonable 
proportion, but dead and uninteresting as all archeological productions must be, 
when presented by an expert under the guise of an artist. 

One result of this crusade is certain. It made men think, and it made men see to 
what a deplorable state architecture had come, and urged them on to the endeavour 
to do better work by a close and affectionate study of our national styles in the past. 

One underlying note of the crusade must not be forgotten, and that was truth,— 
the right use of materials, and that ornament should follow construction. Without a 
proper appreciation of these fundamental principles the most painstaking work is 
thrown away, and at the beginning of the nineteenth century there does not seem to 
have been any recognition of the necessity for a study of materials in respect to their 
fitness in decoration and design. Anthony Trollope’s comment on the taste in dress 
of one of his characters: “‘She well knew the great architectural secret of decorating 
her constructions and never descended to construct a decoration,” was far enough 
from general acceptation. 

In effect a dullness and inertia nearly approaching death had settled down over the 
land as far as architecture and its allied arts were concerned: men hoped for nothing 
better, tried to do nothing worthy of themselves, but were content to build in this 
pattern or in that, as the necessity for earning their daily bread compelled them; 
ornament was merely a question of money, shams of all kinds were indulged in. 

While acknowledging the benefit conferred on us all by Pugin’s crusade, the 
mistake seems to be that in choosing a style for a fresh start it was thought necessary 
to go back to medizval times for inspiration instead of taking up the thread of tradition 
where it had been broken in the eighteenth century by the weight of too much 
antiquarian learning and research. 

The conditions under which Gothic buildings were produced differ so completely 
from those which prevail in the present day that it appears to be a mistake, which 
can only lead to disaster, to try to reproduce the work of that time for a modern villa 
or ordinary domestic building. ‘To-day it is absolutely necessary to give working 
drawings of the most detailed description, to guide the workman in the carrying out 
of the design. In the Middle Ages, working drawings as we now know them did not 
exist; even the largest and most important buildings were erected from outline 
drawings of the most sketchy description, and details were left to the master-masons 


3 


and other workmen, who were themselves capable of erecting dwelling-houses and 
smaller buildings, correct in proportion and pleasing in design, without the help of a 
master builder or architect. 

Can we imagine at the present day a band of workmen wandering from village to 
village, restoring churches, carving new wood bench ends, and beautifying, not 
destroying, all they touched, as was the case in medizval times? If such were the 
conditions under which the Gothic work we all admire was produced, it seems 
impossible to us to hope to revive this spirit again with our modern limitations. 

If medizval buildings in plan and general conception are unsuited to our modern 
English wants, so also are the classic buildings erected at the end of the eighteenth 
and the beginning of the nineteenth century. The use of pure Classic in domestic 
buildings, so largely adopted at this later period, lost much by the necessary suppression 
of traditional English constructive features, such as roofs, dormers, and chimney- 
stacks. These, being out of harmony with the general design, were hidden away as 
much as possible, making the scheme as a whole artificial and insincere. Compare 
such buildings with that portion of the Palace of Hampton Court designed by Wren, 
which has a low roof covered with lead. In elevation, however, the roof overtops 
the parapet wall, and the chimneys show sufficiently boldly as a part of the general 
scheme. In this case the design required a low roof, but neither this nor the 
chimneys are allowed to be forgotten or despised. 

These difficulties have been cited as typical illustrations of the troubles an architect 
has to face who uses a style Italian rather than English, possibly suitable even in this 
country for monumental buildings, but unsuitable for those of an ordinary domestic 
character. 

Mere copies of buildings in other countries cannot really be successful and 
admirable in the truest sense. St George’s Hall in Liverpool is grand in design and 
execution, a noble addition to the monuments of any town, but, even while we admire 
it, we regret to find in it nothing but the ideas of other times and countries instead of 
suggestion and helpful guidance to fresh ideas which may be assimilated with a national 
style. Such a style might be less grand, perhaps, in studied lines of beauty, but dearer 
to us for all that, just because it is an expression of the best minds of the day con- 
centrated in one focus, and not wandering in all directions over the earth seeking 
inspiration and ideas—a search which so often ends in lifeless reproduction. 

In view of our English climate, our national preference is for roofs of at least 
moderate dimensions. In our crowded towns, indeed, they are an advantage where 
height is required, without at the same time shutting out too much light from narrow 
streets; they are ours by tradition, and we should try to retain any beauties of our 
national architecture. We are reminded by Pugin that: ‘God in His wisdom has 
implanted a love of nation and country in every man, and we should cultivate this 
feeling.” 


In the country the roof plays an almost more important part, and it would be indeed 
a loss if scholarly study of classic work made us banish the roof with its tile, stone, or 


4 


other covering, which, when touched by the softening hand of Time, acquires year by 
year an added beauty of the rarest order, a gift from nature working in sympathy, as it 
were, with man’s efforts and ideas. 

It cannot, of course, be said that all houses of the period under review have good 
roofs, but as a general rule the roof is not forgotten as part of the design, and to us 
the great charm of the houses of this period lies in the retention of the Gothic tradition 
of a roof as a feature, with well-designed chimneys, and commonly a good cornice as 
a finish to the wall surface of the building. 

In the Life of Coventry Patmore, by Mr Basil Champneys, there is a reference to 
Carlyle a propos of a letter he had written to Coventry Patmore in July 1856. ‘“‘Carlyle’s 
disclaimer of any knowledge of architecture is probably true in a merely technical 
sense, but he was undoubtedly sensitive to architectural effect, and especially to the 
moral qualities it evinced. I remember his speaking to me of Sir Christopher Wren’s 
Chelsea Hospital in some such words as these: ‘I had passed it almost daily for 
many years, without thinking much about it, and one day I began to reflect that it 
had always been a pleasure to me to see it, and I looked at it more attentively, and saw 
that it was great and dignified and the work of a gentleman, and I have always thought 
highly of Sir Christopher Wren since then.’ This was followed by a characteristic 
tirade against the ordinary run of design and workmanship.” 

It is questionable whether gentlemanly can fitly be applied to any art as its greatest 
recommendation, but it is well not to be too critical with a genuine outburst of en- 
thusiasm such as this. In really national English work of the best kind there has always 
been great restraint, a restraint which 1s satisfied with simple results and does not seek 
after striking effects, a search which led the German nation into much vulgarity both 
in Gothic and Renaissance work. It is perhaps the restraint manifested in Chelsea 
Hospital which led Carlyle to define it as the work of a gentleman. 

Recently there has been a tendency to revive the Renaissance style of the seventeenth 
and eighteenth centuries, and many buildings are now founded on its principles with 
the best results. Such buildings take their places as living works untainted by narrow 
dogmatism or a pedantic exhibition of classic learning. New life has been added by 
suggestions of fresh thought in a gable here or a doorway there, but all in harmony 
with the leading idea of restraint and the correct use of the best materials at hand. In 
such work as this there is the real element of progress, a progress not too rapid and far- 
reaching, producing an unhealthy growth, but one founded on traditional work, while 
tradition was still its mainspring and backbone. 

Growth, maturity, and decline is the inevitable history of man and his works, 
and this fate all styles share in common with man; it is the lot of Classic as well as 
Gothic work, and will be the history again of all styles, but that a new life may spring 
from the decay of the old has already been shown in the history of architecture. 

Can we say that tradition is completely lost, or does it only wait the invigorating 
influence of new thought to produce the new growth? With the period under review 
the growth was prematurely arrested; is it impossible to revive and reinvigorate it? 


2 


Surely, never in the history of England was there a style which demanded less 
rigid uniformity, and, as this is an age of free thought, it should suit us best. . 

Where can there be found a style which more directly answers modern require- 
ments in this respect? Not in the ancient monuments of Greece, still less in the Gothic 
work of medizval times. All these styles to be successful must be correct and confined 
to the beaten track of workers.in the past, “from which path we can never depart 
without a certainty of failure being the result of our presumption.” 

Buildings founded on the teaching of the style under review are bound to no 
narrow path of selection: sash windows with wooden glazing bars, iron casements 
and lead lights, stone, brick, tiles, slates, all are equally suitable and take their places 
in a well-ordered design. We may have panelling or plastered walls, whitewash or 
paper, the scheme may be severe and large or moulded on more fanciful lines, but if 
the true spirit of the teaching be not forgotten, the effect must be broad and refined. 

The thought and ideas of earlier periods have found a place in this as in no other 
style. It should be remembered also that it suffers less than any other from modern 
appliances. Mouldings run by machinery, when of good outline, do not spoil the 
design as they must inevitably do in Gothic work, the beauty of which so largely 
depends on the individuality of the work employed. Beautiful as it is to have hand- 
made mouldings, this luxury is impossible now to most people, and, in a measure, the 
use of them is a negation of progress. If we are successfully to practise a style it must 
be one with which modern requirements and methods are not at war, and which can 
be adopted and carried out well at a reasonable cost without injury to its artistic merits. 

Perhaps some day there may again be a traditional school of English Architecture 
when the majority of its workers will take up the thread of tradition where it has been 
broken, and let us hope the present revival is no mere fashion of the day, but destined 
to grow stronger as the years pass and become a permanent influence for good. 

In the following pages an endeavour has been made to give a comprehensive, 
though not exhaustive, view of the types of ordinary domestic architecture of the 
period dealt with, by means of photographs and measured drawings. The designs 
speak for themselves and constitute the strongest argument that can be used as to 
the suitability of this style for modern work. 


THE RENAISSANCE EVOLUTION IN ENGLAND 


ey dealing with the development of architecture in England, the historian, in 

common with the usual custom, has put forward as the keynote of the prevailing 
styles those buildings which, by reason of their size and importance, would most 
strongly press their claims to notice on the popular mind. 

In the case of Gothic work, constructional and ornamental details belonging to 
the various periods are so evenly distributed over buildings of all kinds, that it is as 
easy to assign a date to the humblest house as to the largest cathedral. In each building 
would be found the prevailing note of construction or decoration belonging to the period 
under consideration. 

This was the natural condition of an art the evolution of which had always been 
controlled by a clearly defined and consistently maintained tradition, one, moreover, 
which changed very slowly, and was only affected partially by foreign influence. 
Very different, however, was the condition of the arts during the period extending 
from 1650 to 1750, for during this time, generally speaking, no such sympathetic 
relations existed between the larger and smaller buildings which were being erected 
throughout the land. In the case of the former, the influence of Palladian ideals, 
introduced into England by the work of Inigo Jones, may be said to have sounded 
the doom of tradition in architecture, though it did no doubt still linger on to a greater 
or less degree. For a short period in some of the work of our great master, Wren, it 
once more asserted its predominant influence only to sink down again to a hardly 
perceptible existence. In the smaller and less important buildings, however, it still 
continued, and was the heart and soul of the architectural quality of the work as it 
had been in medizeval times. 

The distinguishing feature of Gothic work in England is the truthful and sensible 
treatment of materials, and the building up of a structure eminently suitable for the 
purposes assigned to it with due provision for climatic conditions. 

The addition of ornamental details never entirely obscured the constructional 
scheme, even when they were most redundant; as a rule, however, they were used in 
such a manner as in no way to affect the framework of the building, and, if this should 
be impossible, were dispensed with altogether. ‘This is a characteristic common to 


‘j 


Gothic, and is unaffected by the changes in ornament, decoration, 
So enduring was this characteristic that, when other features typical 
of pure Gothic work at last fell before the Renaissance, it was cherished and developed 
in the humbler and less pretentious structures, giving them much of the charm they 
But jt is not to be confounded with the essentially English quality of sobriety 


all the periods of 
and mouldings. 


possess. 


which makes itself felt in the designs of the later Renaissance architects, even when they 
are the eclectics of the eighteenth century: the former character 1s traditional, the 
latter national, and buildings acquired this note of sobriety rather from the restrained 
manner in which the foreign style was handled, than from any constructional tradition 


handed down from earlier work. 


Fic. 1.—House aT NORTHLEACH, Fic. 2.—CoTTaGes AT THEALE, BERKS. 
(GLOUCESTERSHIRE, 


The history of Gothic Architecture is one of slow and steady progress, from the 
simple forms of its early stages to its culminating richness in the Decorated period, 
and then on to the greater refinement of the Perpendicular style. ‘These changes, 
though in sympathy with, were not substantially influenced by, foreign styles, not- 
withstanding that foreign workmen were often employed, but moved on in synchronous 
line and in sympathy with the intellectual and material development of the people. 
It is important to note that in England, Gothic work in its later development followed 
a course which was quite the reverse of that pursued by the rest of Western Europe, 
which became more ornate and fanciful, whereas our own became more refined, 
symmetrical, austere, and therefore more ready to be assimilated with the new style. 

The gradual elimination of detail in English work was very powerfully helped 
forward by the diminution in the number of new ecclesiastical buildings, owing to 
the decline in the power of religious bodies during the reigns of Henry VII and 
Henry VIII; possibly also the Black Death in the fourteenth century may have had an 
influence in the same direction, by causing a dearth in, and consequent dearness of, 
labour. ‘The wealth taken from the hands of the Church passed into those of the great 

8 


nobles and others in high favour, the decay of feudalism and the growth of commerce 
also produced a new class of people who required buildings, but buildings of a secular 
rather than ecclesiastical kind; the churches that existed were sufficient for the 


requirements of the time, but as an im- 
mense impetus was given to the pro- 
duction of domestic buildings all over 
the country, the methods heretofore 
employed in monastic and other build- 
ings of this class were thus transferred 
to a new field, but with a certain neces- 
sary reduction in elaboration. 

This domestic work, therefore, 
direct, sincere, and divested of all un- 
necessary ornament, might almost be 
classed as another period of Gothic 
Architecture, dedicated, it is true, to 
secular rather than ecclesiastical build- 


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ings, but as important in the continuation of Gothic tradition as were any of the 


preceding styles (Figs. 1 and 2). 


This is none the less true because the revival of classic learning was beginning to 
be felt in the sixteenth century, and in consequence many of the larger buildings were 


: fat 


: se wv " ; as = Se ae RE 
ARKINDLEY:- HALL: NEAR COLNE: 
Fic. 4.? 


overlarded with so-called Renaissance 
detail, for side by side with these the 
pure type of building, absolutely Gothic 
in every respect, continued to be em- 
ployed and Gothic tradition remained 
the underlying influence in all buildings 
till the advent of Inigo Jones in the 
middle of the seventeenth century. 

For these pure Gothic buildings we 
have not far to search; they may be 
found all over the country, among the 
brick and timber farmhouses of the South 
(Fig. 3), as well as in the stone districts 
of the North (Fig. 4), notable for their 


simplicity of detail, without a trace of Renaissance influence even in their ornament. 
Their principal characteristics are important, as they naturally prepared the way for 
the change of style when it did come, and may perhaps be enumerated as follows: 

The whole scheme of treatment is simple and refined, open almost to the objection 
of dullness, as compared with such hybrid buildings as Audley End. 


1 From a sketch in R. Nevill’s Old Cottage and Domestic Architecture, 1889. 
2 From a sketch in H. Taylor’s Old Halls in Lancashire and Cheshire, 1884. 


9 


The frequent use of gables, a feature perhaps more noticeable in the stone districts 


than elsewhere (Fig. 5). : 
The use of older constructional forms in a different and simpler manner to suit 


the requirements of a domestic building. 

As an example of this, the square-headed mullioned window may perhaps serve. 
It is true that it was used in Gothic buildings in England, but not on the Continent, 
and may be found in the Decorated, and more frequently in the Perpendicular period. 
Most examples are furnished by domestic or semi-fortified buildings, such as Raglan 
Castle; usually when found it is marked by cuspings, etc., in the head. That a window 
having to fill a space under a flat ceiling should have a square head is reasonable and 
constructional, but the universal use of a window of this kind marks the last period 
of pure Gothic work, and as a rule it is 
devoid of all ornamental detail beyond 
the moulding of the constructional parts 
themselves. 

Lastly, there is a strongly marked 
insistence on a symmetrical arrange- 
ment of features. This characteristic is 
a very important one in the development 
of the style, as it formed an unconscious 
step in anticipation of the greater changes 
that were to come. 

That it was a direct result of Italian 
influence is quite out of the question, 

Fic. 5.—AtmsHouses, NorTHLEACH. though indirectly, perhaps, this influence 
may have told slightly. Rather must it 
have been due to motives born from the subtle undercurrent of feeling heralding 
the coming style, and first showing themselves in the recognition of the valuable 
esthetic truth, that a proper balance of parts in an architectural design cannot be 
neglected. 
_ It has been necessary to dwell at some length on this last phase of Gothic work, 
in order to demonstrate clearly the fact that for almost one hundred and fifty years 
after ‘Torrigiano’s visit to England, early in the sixteenth century, the older con- 
structional tradition was the important factor in architectural design, even in the 
Elizabethan and Jacobean periods, obscured, it is true, in a large number of instances 
by the application of the new surface ornament, but none the less real for all that. 
How strong that influence must have been is realised when we find even Inigo Jones 
himself making the experiment at Raynham of combining the use of the Gothic roof 
and gables with Palladian entablature and other features, an experiment interesting 
in itself, and important as a herald of the more complete and harmonious fusion of 
styles that was to come between this date and 1750, in the traditional handling of the 
buildings herein illustrated. 


Io 


Before proceeding, however, it would be well to set down succinctly the important 
incidents and dates in the period of change, as these must be borne in mind in order 
to follow the steps by which the Gothic tradition passed from its purity to its 
amalgamation with Renaissance ideas. 


1512. The Italians come to England and introduce Renaissance surface ornament, 
applying it to Gothic work. This period lasted until 

1536. The break with Rome and the suppression of the monasteries. Between this 
and 1560 architecture practically returned to Gothic methods. 

1560. ‘he advent of the Germans, who in their turn merely applied their version of 
Renaissance ornament to the older constructional forms. The imitative 
work of John Thorpe and other English builders of his period, for all practical 
purposes, comes under the same heading. 

1619. Inigo Jones builds the Banqueting Hall at Whitehall; on lines different as to 
constructional scheme and detail from anything that had gone before in 
England. 

1647. The erection of the wing at Cranborne Manor; the first example of Renaissance 
motives wedded to the constructional scheme of Gothic work as apart from 
the mere application of ornament. 


Thus far, therefore, we have traced the natural evolution of the Gothic method 
of building; a system which held its own, with greater or less force, but still as 
the dominant factor of every work, either large or small, which was erected up to 
1619. 

Henceforward, in addition to the master masons and master carpenters, a new 
craftsman was evolved, a man to whom architecture was something apart from mere 
building in the sense in which it was understood and so ably carried out by the older 
men. 

He revelled in the academic problems and paper arrangements which the ideals 
of Palladio had reduced to rule and measure, and his ambition was to reproduce what 
he understood to be a correct representation of Italian Architecture, rather than to 
harmonise the new ideas with the principles he found in general use throughout the 
land. 

On the score of cost alone, apart from the question of the new fashion, such works 
as these were necessarily confined to buildings of importance and scale, and they have 
therefore been accepted generally as the sole representatives of the influence exerted in 
England by the Renaissance of Italian Art, and thus “Palladian”’ has been the term 
applied to the period under review. ; 

This term does not, however, fitly describe the prevailing note of building effort. 
Palladianism, in the common estimation, may, perhaps, be best described as a sub- 
servience of “building” to “effect”; in other words, a subordination of utility and 
constructional propriety to a single esthetic idea. 

a 


A very little inquiry, however, will convince the observer that alongside this 
Palladian work many buildings were in course of erection all over England which, 
though they owe their architectonic quality to the principles introduced with the 
Renaissance, yet obtained definite and distinctive character from the fact that these 
principles were added to the methods in use at the time without any variation in the 
traditional methods of construction. ; ; 

It may be objected that these buildings are of bastard type, and unfair as this 
term is when applied to the outcome of traditional growth, we can afford to disregard 
it, as they are for the most part fine architecture, and combine what is best in the 
Gothic tradition of rational building with the 
splendid breadth and dignity of Classic Art. 

It is not to any striking or original features, 
nor to picturesque outline in any marked 
degree, that these buildings owe their charm, 
but to the correctness of proportionate values, 
the fine balance held between construction and 
architectural design and the correct use of 
materials at hand. In this respect they are 
the very antithesis of true Palladianism, which 
is too apt to degenerate into~a struggle for 
effect at all costs, with the inevitable result 
that so many late Renaissance buildings are 
insincere and disappointing. 

Much has been said of Inigo Jones and his 
influence, for never previously in the history of 
our architecture has one figure stood out so pre- 

Fic. 6. eminently beyond all others, and it is impos- 

: sible to deal with the change of style without 

being also drawn again and again into reference to his works. Inigo Jones is more 

generally known by his larger buildings, such as the Banqueting Hall at Whitehall 

and his work at Greenwich, probably built more directly under his own supervi- 

sion, and these are marked by the overwhelming influence of Italian feeling. Sir 

Christopher Wren, his successor, is more traditional in his methods, more truly 

influenced by his Gothic precursors; possibly, also, his works were for the most 

part carried out on the old lines by ordinary artificers, whereas even Rubens was 
called in to help his predecessor. 

In the new wing to Cranborne Manor (Fig. 6), which was added by Inigo Jones 
in 1647, and at Coleshill, 1651, we find the prototypes of many buildings which were 
to follow, as they combine respectively in structure and design the two essential 
elements of Gothic and Classic methods. 

At Pendell, 1636 (Fig. 7), he adopted the common Sussex roof form already in 
use for many years in the timber buildings of the South of England; this building is 

12 


a 
Ly 
ian 


a2) Bt 
es || ae 


DIAGRAM : OF THE WING: CRANBORNE 


also extremely interesting as it is so much in advance of its date in feeling and general 
design. 

In Cranborne Manor, 1647, there are evidences from the work itself, such as the 
uncouth detail of the cornice and the windows treated with stone mullions and 
transomes in the manner of earlier work, that much must have been left to the local 
master-mason. At Coleshill the details must have been more closely followed by 
the master himself; here we have a fine example of an unbroken cornice with a steeply 
pitched hipped roof crowning the whole, the spacing of dormers and windows in 
relation to the general design being particularly good. 

These buildings show that when the cornice is returned in an unbroken line 
round the sides of the building, it is 
necessary, if a roof is to be retained, 
that it should be hipped back from the 
angles. It is this particular feature of 
a crowning cornice returning round at 
the eaves line with a steeply pitched 
roof rising immediately from it, and 
the consequent hipping of the roof, 
that marks distinctly the change in 
outline, which is the radical difference 
between the Renaissance buildings 
dealt with in this book, and not only 
the preceding Gothic and Elizabethan 
houses, but also the contemporary 
Palladian buildings of larger scale in 
which the existence of a roof was FIG, 7.—PENDELL, SURREY, 1636. 
disguised as much as possible. While 
thus emphasising the use of hipped back roofs, the fact that their use in the South 
was sufficiently common before this date has not been overlooked, but this feature 
was perhaps due to the constructive methods adopted in the timber framing, and once 
its constructional and artistic value had been demonstrated, the transition was easy 
to its use with the Classic cornice. It is an example of the preparation which was 
being made on all sides for the introduction of Renaissance motives into design. 

The circumstances of climate and material made it incumbent on builders to 
adhere to roofs of a steep pitch, such as had always been used in this country, and 
unquestionably they must have recognised the esthetic value of the hipped back 
roof in conjunction with the greater insistence on horizontal lines due to the Classic 
motives in design. 

The distinguishing features marking off the new style from those preceding it are: 
the general use of hipped back roofs instead of gables, the strongly marked horizontal 
cornice line carried right round the building, and a reduction in the width of window 
openings. 


8) 


Formerly the whole side or end of a room might be a window merely parcelled 
out by the necessary mullions into so many lights, but this is NOW changed, and the 
window, if divided up by a mullion, has two lights only with solid wall surface between 
it and the next window in the facade, these smaller openings made the building less 
busy and therefore conformed to the requirements of dignity and repose so essential 
to Renaissance work. 

Another feature which must not be forgotten is the Dormer, for as much attention 
was devoted to this as to any other part of the building. Whenever rooms in the roof 
required light and ventilation, it had been a simple matter to run up a gable end in 
which the required opening could be placed, but now if the cornice should properly 
perform its dual functions as the finish of the wall surface and the base of the roof, 
clearly it would not do to break this horizontal line with wall surfaces rising out of the 
cornice. 

Thus the use of dormers was a necessity and became universal whenever the roof 
contained rooms, and they began to receive an architectural treatment which had been 
absent heretofore; when symmetrically arranged on the roof area, and invested with 
correct and dignified mouldings, these dormers add greatly to the charm of the 
buildings to which they belong. 

Such roof treatment is not a direct outcome of Italian Renaissance, it is rather an 
adaptation of Gothic tradition to new decorative ideas, and will be found in all countries 
which have been strongly influenced by this tradition, as may be seen in the roofs of 
France, Germany, and Belgium, as well as our own country. 

The same process which affected the roofs occurred in the treatment of the chimney- 
stacks, a necessity of Northern architecture, and also one which in Gothic times had 
received no little attention from the builders. 

Here also little instruction could be gathered from the models of the Italian 
Renaissance; in earlier English work chimney-stacks were usually of large proportions, 
often elaborate in detail, but generally placed irregularly in relation to the whole 
architectural scheme. 

Now they became invariably regular, often placed centrally on the roof area and, 
if numerous, disposed with scrupulous attention to the symmetrical setting out of 
the whole design, planning being influenced and modified to attain this end, and the 
scale and importance which they inherited from their predecessors is well maintained, 
especially in the earlier examples. 

The mouldings are suitable adaptations of Renaissance profiles, and no eccen- 
tricities will be found such as the stacks at Montacute, shaped like Doric columns, 
cap and base and all, with a flue pipe up the middle. 

Thus far the influence of Gothic methods on the new ideas has been chiefly 
dealt with; it is, however, important to note the characteristic way in which 
Palladian ideals were handled in the traditional spirit and worked into a harmonious 
scheme. 

The most far-reaching effect which the Renaissance, especially in its phase 


14 


of Palladianism, exerted upon all foreign styles lay in its application of the 
orders of architecture to wall surfaces, as a means not of constructional use, but 
of decoration. 

In Elizabethan work the orders, as a rule, were used in the crudest fashion: as 
compared with the building, they were almost always small in scale, never occupying 
more than one storey in height, and no attempt was made to impart the real spirit of 
Classic work to the mouldings and details. A good deal of taste and knowledge 
appears in their use on much of the work, more especially in small decorative items 
such as panelling, etc., but as a whole the result is most unsatisfactory, and what could 
only be expected when we remember that the Renaissance decoration had filtered 
through German and other foreign mediums, and was carried out more in the manner 
of a schoolboy writing an essay than as the true expression of the feelings of the 
workers themselves. 

Such an application of the merely decorative forms of one style to another, without 
attempting to bring them into harmony with the structure itself, is hardly worthy to 
rank as a serious architectural effort. 

At Greenwich Inigo Jones gave us our first taste of Palladianism, with an order 
running through two stories, and this is more or less the keynote throughout all the 
large works of his academic successors of the seventeenth and eighteenth centuries. 
To the humbler builders tradition and local methods were still the preponderating 
factors of design, though they also could not escape the influence of this new treatment. 
It is to them, and not to their academic contemporaries, that we owe the assimilation 
of the old with the new: they also applied the orders to their work, but in a fashion 
original and full of character and delicacy. 

In few instances did the builders use the orders in the true academic fashion, 
merely as decoration plastered on the face of walls which, without them, were amply 
strong enough to do their work. When they used them constructionally or quasi- 
constructionally they did so, as a rule, with honest purpose, adapting them to the 
work they had to do, and with a keen sense of fitness, taking into account the use of 
material and the scale of the building, and even when these features were used, as was 
occasionally the case, purely for their decorative quality, the orders were not applied 
in a strictly imitative way and by rule, but were used with a freedom and intelligence 
that can only evoke our admiration. A pilaster treatment is valuable for spacing out 
the different parts of a wall surface, or even for buttressing where extra thickness is 
required, and it is to this use that the orders were applied, whittled down, often without 
cap or base, until they were in fact mere pilaster strips, a treatment which is extremely 
common in the many fine brick houses of this period. 

It indeed appears as if this Palladian motive had been seized upon merely in its 
abstract sense, and twisted and turned, improved and altered, to suit each case and each 
fancy. The academic designer would call this an uneducated, perhaps even an 
unintelligent, method of design—but it is the only method by which it is possible to 
expect a proper play of individual thought and skill, and by it the spirit of the new 


I 


style, rather than the letter, became merged ton the preceding one, thus 
the true sequence of tradition. 
In pice other details the same teasonableness a Sens consist 


imbued with the same Baan of ae Se which fad anim: 
fathers, yet acknowledging fully the requirements and conditions of 1 
grafting on, with truly national deliberation, all of the new fashions 


16 


NOTES ON THE ILLUSTRATIONS 


Spo the usual method of chronological sequence does not commend itself as a 

mode of classification for the series of buildings under review, and as a strictly 
topographical arrangement in counties is too inelastic, it has been thought best to 
divide up the examples broadly, according to the material of which they are prin- 
cipally composed, into three heads, viz. the stone-built, the brick-built, and the 
plaster-fronted houses. 

This generalisation is admittedly a wide one, and necessitates, certainly in the case 
of the first class, the covering of a very large area of distribution, and a widely divergent 
set of influences, but the effect of material is so marked upon the whole architectural 
scheme of these buildings, that it is quite justifiable to take this as the basis upon which 
some kind of classification can be set up. 

In the Middle Ages two staple building materials were available, wood and stone, 
for brick did not come into general use until the last period of Gothic architecture. 
Where stone had been plentiful, and in use from time immemorial, any traditional 
methods of building were bound to exert a more lasting influence on succeeding 
work. On the other hand, where timber-framing had been the prevailing building 
material, the more or less new treatment which the introduction of brick in place of 
wood involved, tended to produce an adaptation of Renaissance motives which was in 
many respects different from that by which the stone buildings had been effected. 
Consequently, traditional elements are more generally apparent in the stone houses 
than in the brick and plaster-fronted houses. 

In the districts, such as the great stone belt from Gloucestershire to Lincolnshire, 
where the principal building material was never superseded to any great extent by 
another, it is not surprising to find in the early Renaissance houses window mullions, 
strings and plinths, jamb-mouldings, etc., which, taken by themselves, are very 
similar in detail to the work of the last Gothic phase. 

In subsequent work a notable development worked itself out in mullion form, for, 
so long as stone was handy, and the old trades survived which could work it and 
supply the necessary casements to fit the mullioned windows, there seemed no reason 
for discarding them and adopting the new-fashioned double-hung sash. 

17 3 


In this development two 


| clearly - marked processes are 

(} QO apparent: firstly, the whole 

trend was towards refinement, 

y 2 mouldings were simplified, 


parts became smaller; the 


L. KIRBY HALL . /595- 2. BEAUFORT DOWER HO: /673- ; : 
TYTICAL TUDOR OR ELIEABETHAN. spacing between the mullions 
was widened, and thus gave 

3 OG 2 O an added appearance of light- 

d ness, and, as time went on, 
Be POULTON MANOR . A.. HO: AT COLLEY WESTON. 1696. the recessing became more de- 
finite and acute by reason of the 

O square reveals superseding the 

D receding mouldings of the earlier 

5. HO: AT WARMINSTER . 6. HO: NEAR CLITHEROE . 1723- work. Secondly, the whole ob- 


ject striven after, though often 

unconsciously, was an approxi- 

| O DC mation to the architrave treat- 
ment—a desire to frame the 

7. SCHOOL -WARMINSTER - /JO7. 8 RYVES ALMSHO: BLANDFORD /682. opening without discarding the 
traditional methods of dividing 


G it up. 
rl Ly A The plans of typical mullions 


and window jambs shown on 
Fig. 8 illustrate this evolutionary 
7), process in its several stages. 

A gl ‘Gy Nos. 2 and 3 show regular 
Elizabethan mullions, with the 

initial steps of refinement and 
, squaring up—the moulded reveal 
iQ a becoming first splayed and then 
; square. In Nos. 4 and 6 an 

15 BUNTINGFORD. 1684. 14. LINDEN HO: CIRENCESTER. architrave first makes its appear- 
sect nandinesiis ast ance, skilfully worked in with 


P THE DEVELOPEMENT lions. 
A ZF THE STONE MULLION quite early 


9. HO: AT LECHLADE - 1707. 10. HO: AT BURFORD - 


11. OLD VICARAGE - BURFORD- 12. COLL- OF MATRONS . SALISBURY - 1682 


WGN 


pee 14 are variants of the regular 

is, Fon SiC eee architraved mullioned window, 
ia while No. 15 gives a late and 
Fic. 8. unusual treatment where the 

spacing having to be wide 

enough for sashes, the mullion consequently takes on the dimensions of a pier, 
while it still conforms to the requirements of mullion treatment, carrying on the 


18 


mouldings of the architrave, and generally subordinating itself to the whole window 
scheme. See Fig. g. 

It is not, however, only in the window construction of the stone houses that 
traditional element continued to show 
itself{—for it is almost universally the 
case that the old sections of plinths 
and string-courses continued in use 
even when the mullion treatment had 
entirely given place to sash windows. 
The Gothic contours of these mould- 
ings were admirably suited to the 
work they had to perform, and as 
long as they could be made to con- 
form to the new method of design, 
so far as the general setting out was 
concerned, the builders rightly re- 
fused to cast away tradition in this Fic. 9.—Post OrricE aT BuRFORD, OXON. 
respect. 

String-courses at Poulton Manor (p. 23) and at Linden House, Cirencester 
(p. 61), and plinths at Monmouth (p. 24) and at Vicarage Street, Warminster 
(p. 71), show the suitability of the older sections when used with the new methods 
of design. 


In the country the houses are as 
a rule solid rectangular blocks, with 
mullioned windows, and _ strikingly 
steep hipped roofs, as at Poulton 
(p. 23), the Beaufort Dower House 
(p. 24), and St Clement’s Alms- 
house, Oxford (p. 29). All these 
will be found to have retained to 
the fullest extent the earlier struc- 
tural tradition; they almost stand in 
a class by themselves, and are purely 
a English in this respect that work of 
“="s quite the same nature is not to be 

Fic. 1o.—Hovusr at WaNsFrorD, NORTHANTS. found abroad. 

Street fronts retained their gabled 
treatment more tenaciously (Figs. 10 and 11); nevertheless, there are many examples 
where the crowning cornice and roof above come into evidence. The little house 
at Lechlade (p. 60), or Linden House, Cirencester (p. 61), are excellent examples of 
this arrangement. Hipped roofs over street fronts are rarer; there is a fine though 
simple example at Winchcombe in Gloucestershire (p. 65). 


9 


i 


| 


ATOLL 
deed ted | 


a ir 


CT nn aT TP 
ite ta ih 


m 


THE -PLOVGH -/NN -AT-MVCH:-WENLOCK 


Breoss, 


Fig. 12 shows the early use of a subse- 
quently common arrangement, viz. a pedi- 
mented doorway with a shield of arms 
carved in the pediment. Here also the 
architrave mouldings, instead of standing 
forward from the wall face, are sunk back 
in the same manner as were Gothic jamb- 
mouldings. 

Most of the stone houses are singularly 
free from the pilaster treatment, the earlier 
ones are completely lacking in this respect; 
in fact, the change in style is made apparent 
by the newly acquired symmetry and breadth 
of design, and by the values of cornice in 
conjunction with the roof. 

In the case of the brick buildings, how- 
ever, the conditions of the outset were very 
different from those governing the design 
and construction of the stone houses, al- 
though some notable exceptions exist, which 
are dealt with fully later on. When the 
scarcity of timber, brought about by its 


universal and prodigal use, became acute, builders 


were forced to turn to some such material as brick, 
which, in the districts where stone was not available, 
could be relied upon to take the place of wood as 
the chief constructive medium. But since the hand- 
ling of brickwork in design required methods which 
are obviously quite dissimilar to those which timber- 
users had employed for generations, it was inevitable 
that when a new style of design was introduced, the 
buildings erected in the new materials should display 
less traditional element than had been the case where 
both styles had worked in the same material. 
Nevertheless, builders set to work at once to 
endue their designs in the new material with an in- 
strictly conformable to classic 
Symmetry and quiet dignity are attributes 
which seem specially to belong to these plain and 


dividual 
motives. 


character 


unpretentious brick fronts. 


Fic. 12,—Doorway, SEVERN 
END, WORCESTERSHIRE, 


20 


PLATES AND DESCRIPTIONS 


THE MANOR HOUSE, POULTON, 


GLOUCESTERSHIRE. ce ryjoc 


PouLTON is situated about half-way between Cirencester and Fairford. ‘The Manor 
House is reputed to have been built by one Padgett, a London merchant who had 


previously resided at Grove House, 
Hampshire. This house has 
Gothic details in the windows, 
string and plinth, which, coupled 
with the rectangular shape and 
symmetrical setting out, produce 
a very interesting example of the 
early type. The rubble walling 
is rather rough, and has~ been 
whitewashed over; in fact, even 
the dressed stone is covered with 
lime, producing, however, a very 
charming effect. 

The almost semicircular pedi- 
ment should be noted, as it is a 
local characteristic; there is one at 


HARRINGWORTH VICARAGE, NORTHANTS. 


Lechlade only a few miles away. The Vicarage at Harringworth in Northampton- 
shire, here illustrated, is a house of a very similar type to Poulton Manor House, and 
shows that all over the stone districts more or less the same results were being 
produced. The drawing of Gretton shows a Gloucestershire farmhouse of a later 
date, but retaining the old form of window. ‘The door is very well designed. 


—— 


cu Ua CUCU CACY COLAC 


G (Uae cece ets rr a TOU 
ES TT 
( 


LOUCESTERSHIRE-FA 


CORNICE 


ALAA 


= 
== i 
= x 
eS ese 
Sass ey 
veces a 
a || ow ‘an git 
LJ a Wm 
a a 


= 


7 
[J 
268 a= 
ZI ae 
= a 
éAS Ee} FE 


PTE MANOR HOVSE = POVLTON -/N-THE- COVNTY: OF -GLOVCESTER: 


THE BEAUFORT DOWER HOUSE, 
MONMOUTH 


Wiruin the precincts of the Castle at Monmouth, and partly constructed with stones 
taken from the ruins, is a fine building now used as the Militia officers’ quarters. 


7 


bee] 


il 


a 
| 


———— —— OT 


CE % 
gig He HAA ae 
si a He : = te al = oT io} iia: iil an i FH 
aa. EA ao Eel in nk me |e 
Laie pfs Mt 


fs 


= ne | aaa] : 
Saal (a | a ies 
seal | an == 


7 
: 
‘ 
) 


q 


The date of this house, 1675, is recorded over the central window on the first floor, 

and, although a certain want of knowledge displayed in the crude Renaissance details 

employed to embellish the central portion bears out the early date of the building, 

there is great merit in the general setting out and proportion of the different parts. 

The roof is pitched at an angle of nearly sixty degrees, and the full value of it as an 

element in the design is thus obtained, the whole being a striking object from the 
24 


1675 


MonMOUTH, 


’ 


THe BeaurortT Dower House 


THe Town Hatt, MonMouUTH 


25 


<a 


surrounding country as the house stands on an eminence in the highest part of the 
town. 

Some of the interior work is worthy of notice, the entrance hall and some of the 
rooms being well panelled and the staircase is of generous dimensions and good 
design. here are also some curious plaster ceilings; that in the middle room on 
the first floor having dependent festoons and swags of fruit and flowers. 

The house was built as a dower house for the Beaufort family, and has gone 
through several vicissitudes, being described in 1801 as occupied by a certain Mrs 
Elizabeth Tudor, ‘“‘mistress of the most respectable school for young ladies in 
England.” 4 

There is no record of its having been designed by any other than a local master 
stonemason, although there are examples of similar Renaissance detail round Mon- 
mouth, notably at ‘T'reowen House and Llangibby Castle. 

A view of the Town Hall at Monmouth, a striking piece of architectural design, 
is also given. 


1 Coxe’s Tour in Monmouthshire. 


HALL’S ALMSHOUSE, 
BRADFORD -ON- AVON, 


oy LOG 


In the sixteenth and seventeenth centuries Almshouses were being built in nearly 
every country town. From the nature of their plan, as well as from the use to which 
they were put, these buildings acquired certain architectural characteristics which 
render them distinct from other domestic work. The necessary multiplication of 
parts very often gives them great breadth and dignity even though on a miniature 
scale, and their builders evidently felt that the Almshouse should be endowed with 
an architectural importance second only to that of the Church or the Market Hall, 
and become thereby one of the public buildings of the town | 
Hall’s Almshouse is an instance of this treatment. 


26 


x bi 


‘ooLI ‘2 ‘NOAY-NO-auoddvug “ASMOHSWIY $,TIV] 


27 


ST CLEMENT’S ALMSHOUSE, 
OXFORD 


ST CLEMENT’s ALMSHOUSE, OXFORD, 1700. 


In a City so rich in architectural work this simple and dignified building is apt to 
be overlooked, still more so, perhaps, because of its situation in an out-of-the-way 
street. 

As is the case with so many buildings in Oxford, the general effect of the 
Almshouse is much spoilt by the decay of the stone work used in its construction, 
and in consequence it has a forlorn and neglected appearance. It is, however, an 


interesting example of the good results that can be obtained by simple methods of 
design and construction. 


28 


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4 
7 


MEDFORD HOUSE, MICKLETON, 


GLOUCESTERSHIRE 


THIs is a very interesting Cotswold house. ‘Though it is quite late in date, the 
details of the door and cornice as well as the vases show this, yet there are mullioned 
windows of more than two lights, as at the Beaufort Dower House (p. 24) and at 
Blockley (p. 62), which are nevertheless unusual features in Renaissance houses, 
though quite common in Elizabethan work. Notwithstanding these windows the 
house is totally unlike the earlier work; there is a date 1797 on some of the lead 
guttering, but this portion can hardly be as late as that; the front is not absolutely 
symmetrical. 

Mr Dawber gives a plan and photographs of this house in his book on the 
Cotswold buildings. 


THE OLD RECTORY HO@sEe 
BURFORD 


THIS is a late example so far as date of erection is concerned, but there are, not- 
withstanding, many early elements present. ; 

The small and delicate cornice, hardly more than an eaves course and slightly 
Gothic in contour, should be noted, as well as the very good grouping of the 
windows, etc. The windows at the back of the house have wood mullions and 
lead lights. (For measured drawings, see pp. 32 and 33.) 


30 


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33 


HOUSE NEAR THE CHURCH, PAINSWICK, 


eae GE kS) 


PAINSWICK is one of those Cotswold towns where good architecture of most periods 
is to be found. Apart from the excellent and abundant building material to be 
obtained in the close vicinity, Painswick in the sixteenth and seventeenth centuries 


34 


had a very flourishing cloth industry, motive power for the mills being procured 
from the innumerable streams that intersect the hills. 

The clothiers made money quickly, and each generation seems to have been able 
to build itself fresh houses; nearly all of these are endowed with architectural 
character of some kind or another. 

As is the case elsewhere in the Western stone districts the gabled type of house 
died hard, and when buildings such as this one and Dover House are met with they 
are usually of comparatively late date. The former is a specially perfect house, though 
unfortunately quite recently the old sashes with glazing bars and small panes have 
been removed and plate glass substituted. 


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35 


DOVER HOUSE, PAINSWICK, 


Ge L720 


Tue Hall chimney-piece at Dover House is 
given on p. 38. The use of Gothic panelling 
in the two pilasters of the chimney-piece 
shows the strength of Gothic tradition, even 
after Renaissance detail was fully mastered. 
Compare the Doorway at Cirencester (p. 
179). The plan here reproduced shows 
the relation of the newer part to the old 
two-roomed cottage. On p. 183 is shown 
a Painswick door somewhat like that of 
Dover House. 


DETAIL-OF ENTRANCE DOOR: DOVER: /IOVSE- 


°, 5 20 2 
pe ve = FEET 


© 


STAIRS VP 
DOWN TO CELLAR 


AITCHEN 


‘PLAN: OF DOVER HOVSE-PAINSW/ CK GLOVCESTER SHIRE: 


36 


Dover House, PAINSWICK, ¢. 1720. 


37 


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SAMUEL SALTER’S HOUSE, TROWBRIDGE 


Tus house, which was built by Samuel Salter, a wealthy clothier and sometime 
Mayor of Trowbridge, is quite late, and its architectural details closely allied to the 
later and coarser work to be found at Bath and in the Bath neighbourhood. The 
main scheme, however, is so good and the roof treatment so thoroughly early in 
character that the ugliness of some of the detail is redeemed. ‘The house is in a 
bad state of repair and has ceased to be in occupation; probably, from its position, 
which encroaches upon the street, it is doomed to early demolition. 


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40 


SAMUEL SALTER’S HousE, ‘TROWBRIDGE. 


4I 


THE MANOR HOUSE, TINTINHULL, 


SOMERSET, «. 1720 


Azout four miles north of Montacute and on the borders of the flat land of Somerset 
is Tintinhull, a manor anciently belonging to the Napiers of Merchiston, who built 


a 
ACO fam an 
eS 


AT MARTOCK : SOMERSETSHIRE 


the present front upon an older house dating from about 1600. The welding together 
of Classic and Medizeval methods is very markedly shown in this example, which is 
an almost perfect representation of dignified yet homelike building. The stone 
used is from the Ham Hill quarries, which are quite near at hand, and in its native 
air has been preserved in a remarkable manner. The glazing in the circular window 
and the woodwork of the door are probably of more recent date. In the same 
neighbourhood as Tintinhull is the small town of Martock: an addition to an old 
house near the church is illustrated here and on p. 45. The careful setting out and 
general compactness of the design give it interest. 


42 


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43 


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THE DOWER HOUSE, WOODFORD, 


NORTHAMPTONSHIRE 


IN its present condition, this house loses much of its intended architectural effect, 
as the West wing has disappeared or was originally never finished. 

That this wing was at least contemplated is evident from the building as it now 
exists; in the plate, therefore, it has been restored. 

From inquiries made on the spot, it appears that the house was built as a dower 
house for the Knightley family of Fawsley Park, a few miles distant. 


46 


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47 


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CASTLETON HALL, NEAR ROCHDALE; 


LANCASHIRE 


Ir is not surprising to find that in the north of England there are relatively fewer 
Renaissance buildings than is the case in the south. For one thing, the older 


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building traditions were bound to be longer lived where the material used did not 
change, and also where that material was so little sympathetic to the refined mould- 
ings and accurate masonry which Renaissance architecture required. Such buildings, 
therefore, as Castleton Hall and Bashall Hall (also illustrated here), become doubly 
interesting. Here the local sandstone has been used for the walling, and the dressings 


590 


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51 


T R.BRIDSON MENS! ET DELT 1903. 


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ribstone Doorway] ANE + SIDE oe FARM &-é:: nt (Citheroe 
1: Bo Betas 


52 


made out of millstone grit as had always been the case and still is when the stone 
has to be worked. ‘The prominent, irregular, dark quoins on light sandstone rubble 


are exactly like the older work, and 
very effective. The roof is covered 
with Lancashire grey stone slates. The 
big scale of this house should be noted 
and compared with Foxdenton Hall, 
another Lancashire house (p. 132); the 
window openings here are over 5 feet 
wide and 11 feet high, while the cornice 
has a projection of 2 feet 103 inches. 
At Bashall Hall the rough rubble wall 
has been rough-casted, producing with 
the gritstone details an extremely pleas- 
ing effect. On the opposite page is 
shown a good specimen of an unusually 
ornate farmhouse doorway and name 


STONE HALL, NEAR WIGAN. 


panel over, all in gritstone. ‘he carving round the panel is of the same type as the 
ornament that was so often put upon oak furniture and fitments in this and earlier 
periods. On this page appear views of Stone Hall, near Wigan, and of a small 
Renaissance addition to a mill at Gisburn, between Skipton and Clitheroe. ‘The 
latter shows a curious and perhaps slightly ungainly attempt to graft Renaissance 
features on to the old traditional Lancashire building. 


Part OF MILL, GISBURN, YORKS. 


=| 


AES th Samak 


LLOYDS BANK, CIRENCESTER 


. 
iy 


} 
} 


eee | 
jana 


Ir only on account of its good proportion 
and the telling effect of its large plain 
surfaces, this house is worthy of study. 

Notwithstanding its late date, probably 
about 1780, it is singularly free in design, 
and with all its ““Adamesque”’ detail (see 
window, also illustrated) there is a tradi- 
tional feeling in the whole scheme. 


54 


THE MARKET HOUSE, TETBURY 


. 
: 
- 
: 
q 


THE sides of this building have been somewhat spoilt by alteration, but the north 
end, here shown, still retains its quaintness and breadth. ‘The date of the building 
is about 1700. 


ee et a eke iT, 


55 


| 
; 
j 
4 


STREEA UAT hE tine: 


SOME country towns are particularly rich in architectural work that is full of 
traditional element. Sometimes, too, it is possible to find the several steps 
of traditional evolution side by side; the street at Tetbury is a good example 
of this. 

The drawing on the opposite page gives a detail of the doors of the nearest 
house in the view. 


56 


. 


57 8 


COXWELL STREET, CIRENCESTER Sas 


THE large house in Coxwell Street, Cirencester, is a fine specimen, and shows the 
effect that can be easily obtained by symmetry and a repetition of features. 


58 


SCHOOL AT CIRENCESTER, 


ae Sr aC 


This building possesses a distinctive characteristic in the rather large space 
between the tops of the first-floor windows and the cornice, a feature which is a 
little unusual. . 


Bows AL LECHLADE, 
1707 


IN nearly every town of the Cotswolds at least one interesting example of Renaissance 
methods can be found, and Lechlade is by no means an exception to this rule. As 
a very suitable street front for quite a small house it would be difficult to find a match 
for the specimen reproduced overleaf. ‘The mouldings are particularly good: but, 
unfortunately, the mullions of the lower windows are gone; these have been 
restored in the drawing. 


59 


~~ Coll Sor. “ATVIHOD 1A INOWa Laates —~ 
(ETRE TTEE, IEC A EIR, 


| = 


60 


LINDEN HOUSE, 


CIRENCESTER 


WINDOW JAMBS 
LOWER 


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Herg, as in the preceding Plate, the mullioned windows have architraves, the section 
of the mullions being made so as to work in best with the correct Renaissance 


architrave. 


Although the windows are unequal in number and spacing, yet the placing of the 
doorway in the centre of the front and the arrangement of the dormers are sufficient 


to produce a symmetrical effect. 


61 


HOUSE AT BLOCKEEY, 


WORCESTERSHIRE, 1772 


BLOCKLEY, on a steep hillside and a typical Cotswold village, is about half-way 
between Chipping Camden and Moreton-in-the-Marsh. The little house here 
shown is a rather notable one, for, though late in date, there are three-light 
mullioned windows and no cornice, the eaves merely overhanging. 

The arrangement of features, however, is quite symmetrical, and the door has 
pure Renaissance detail; in fact, taken by itself, the door is a beautiful little piece 
of correct work. 


62 


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Re era BLOCKLEY = WORCESTERS AIRE: 


63 


THE SHIP INN AT MERE, 


WILTSHIRE 


THE lower windows here have evidently been altered, the mullions taken out, and 
the openings narrowed to receive sashes. ‘The building is a good example of early 
symmetrical setting out, there is no cornice, and the quoins are given very little 
prominence. 


64 


HOUSE AT WINCHCOMBE, 


GLOUCESTERSHIRE 


EF SE 


i= 
————we | 
aeons 


_——_—_—_} 
WEL G01. 


7 SCALE OF FEET= 


Tuis perfect little building on a miniature scale is in the western end of the town on 
the Cheltenham road. Though really a street front, the fine roof treatment almost 
brings it under the same heading as the rectangular block houses already described. 
Houses having a hipped back roof and coming between other buildings on a 
street are not common; compare this example with the brick house at Tewkesbury 
(see p. 68). 
65 9 


THE LATIN SCHOOL, WARMINSTER 


Tuts Free School was founded in 1707 by ‘Thomas, first Viscount Weymouth, very 
probably at the instigation of Bishop Ken, who was at that time in retirement at 
Longleat. Bishop Ken died in 1710, and it is well known that he was urgent in 
his efforts to establish schools in all the large towns within his influence; it has been 
suggested, therefore, that he was instrumental in inducing Lord Weymouth to found 


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67 


THE LATIN SCHOOL, WARMINSTER (continued). 


the school at Warminster. He may also have written the inscription on the tablet 
over the entrance. 

The large door was constructed of oak brought from the park at Longleat. It 
is of interest to note that Dr Arnold of Rugby received his early education in this 
school, which he first attended in 1803. 

Here, as at the Beaufort Dower House at Monmouth, though thirty years 
separates the erection of the buildings, the use of the mullion without an architrave 
still survives; nevertheless, the Renaissance stamp of the building is unmistakable, 
even if the delicately designed central doorway is left out of the question. In its 
details this feature is quite free from that coarseness which characterises the work of 
the first decade of the eighteenth century in the neighbourhood of Bath. War- 
minster may be said to be at the southern limit of this district. The general view 
of the school shows the good effect of the very random walling. 


House AT 'TEWKESBURY (see p. 65). HousE AT WARMINSTER (see p. 70). 


HOUSE OVERLOOKING THE CHURCHYARD, 
CIRENCESTER 


THE house at Cirencester is really the back of an older building fronting on to 
the Market Place. This side shows good setting out, and an unusual kind of 
architraved window. ‘The stonework is whitewashed over. 


68 


oll 
LF seen 
Lee 
may 
ay 
ee 
Pe 

a 

nr 

Fe 

e 


WARMINSTER. 


THE LaTIN SCHOOL, 


CIRENCESTER. 


? 


HOUSE OVERLOOKING THE CHURCHYARD 


HOUSE IN VICARAGE STREET, 
WARMINSTER 


Tuis is a late house of a rather pleasing type, with a mansard roof covered with stone 
slates. The small square blocks of masonry give the building a character quite its 
own. Here, again, proportion has been spoilt by the substitution of plate-glass for the 
old barred panes; these have been consigned to a garden shed at the back, whence 
their restoration could easily be effected. On p. 68 is shown another interesting 
house at Warminster. 


79° 


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Mv ENS EY DEL 1902 


THIS ornate house, about four miles from Bradford-on-Avon, is notable for the 
rather unusual treatment of the cornice, which is carried up the pediment without 
the portion running across the base, as is customary. ‘The design and proportion of 
the four windows on each side of the central feature are very good, but the centre 


itself is clumsy. The exact date of the building is not available, but cannot be 
earlier than 1715. 


72 


ts 


THE Court, HoLt, WILTs. 


1g) 


A FARMHOUSE NEAR CASTLE CARY, 


SOMERSET 


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[A-FARMHOVSE NEAR CASTLE CARY 


THE dignity and simplicity of the little stone front of this small farmhouse are 
admirable, and entirely redeemed from the commonplace by nice proportion and 
the presence of a good roof. 

The somewhat unusual finish at the eaves is interesting. It is kept perfectly 
plain, except that at each end of the front illustrated a short length of moulded cornice 
is introduced, returned both ways and forming, as it were, capitals for the quoining 
of the angles. 

The panelling is quaint and interesting; note the use of the key blocks in the 
broken pediments. 


fps 


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ETTNG I IN-A- FARMHOVSE: CASTLE 


MOmrALL. SAINTS PLACE, 
STAMFORD, 


1683 


(Sez ILLUSTRATION ON NEXT PAGE) 


THE Renaissance houses at Stamford are very well known, and many of them have 
been already illustrated, notably in Messrs Belcher & Macartney’s folio volumes, 
but for some reason or other this house has not appeared before. ‘The wide window 
openings are rather characteristic of Stamford work, and the ingenious method 
adopted to keep the steps from coming out too far upon the footway, as well as the 
mounting gate at the top of the flights, should be noted. 


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PART: OF -THE -BLVECOAT -SCHOOE* FRO 
78 


CENTRAL PART of the BLUECOAT SCHOOL, 
FROME, SOMERSET 


THE portion shown opposite is the central feature of an otherwise dull front, which 
extends for some distance on both sides. The date of building is 1720, and the 
details are extremely good, notably the doorway. 


Poni HOUSE, WOOTTON BASSETT 


Wootton BassetT is on the fringe of the Bath stone district, and most of the houses 
are brick built. This exception is interesting for the curious attempt it shows to 
find some variant on the usual type of pediment. The result is hardly a success. 


Sue_L Hoop at TETBURY. 


The details throughout are very well executed; the doorway, with its shell hood, 
is exceptionally good. The date of building is unknown, but cannot very well be 
earlier than 1720. 

A simpler stone shell hood from Tetbury, in much the same neighbourhood, is 


shown here. 


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BANK HOUSE, WOOTTON BASSETT 


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BANK HOUSE, WOOTTON BASSETT 


A HOUSE IN BISLEY STREET, 
PAINSWICK 


OO tsi en 1 


Tuis is the latest in date of the Painswick houses illustrated. It has a dainty stone 
front, but is rather the prototype of many stucco houses of a much later date which 
have brought this kind of work down to a low and commonplace level. 


83 


LEBURN HOUSE, BAMPTON, 


NORTH DEVON 


THE stone quarried at Bampton is coarse and rubbly, and unfitted for fine dressing. 
Nevertheless, by dealing broadly with the whole scheme, and keeping his pilasters 


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as much like piers as possible, the builder of Leburn House has contrived to give 
his rugged material a certain amount of architectural quality. 

The big scale of the setting out and of the fine-coved cornice are a foil to the 
rough masonry. 

The elevation of No. 8 Silver Street, Bradford-on-Avon, shows another pilaster 
treatment, much more “Palladian” in character and quite scholarly, yet with elabora- 
tion so well balanced and distributed that the whole is entirely satisfactory. 


84 


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ILLUSTRATES a type of stately and academic house which is fairly common among 


quite late work in many towns where stone is plentiful. 


This is a very good specimen 


of its class; it is built of Ketton stone, and is in good preservation. 


87 


KIRKLEATHAM HOSPITAL, 
NEAR REDCAR, 


YORKS 


THIS imposing almshouse, consisting of a chapel, two school-houses, lodgings for 

ten old men and ten old women, with a library and other buildings, was erected 

between 1709 and 1742 by Sir William Turner and his son Chomley Turner. ‘The — 
88 


buildings are arranged round three sides of a quadrangle, in the centre of which is 
a statue of Justice, blindfold, and with sword and scales. 


The materials are red sandstone and dark red bricks; the chapel is fitted with 
very good stalls, the carving in particular being excellent. 


ee 


: 


CULVERTHORPE HALL, 
NEAR SLEAFORD, 


LINCOLNSHIRE. 7c. 1730 


CULVERTHORPE HALL stands on the edge of the fen land, south-east of Sleaford. 
Though belonging rather to the stately type of house, a type which is perhaps a little 
out of place amongst the other buildings illustrated, this example has been included 
because of the combination of the “grand manner”’ with a big and bold roof treat- 
ment. An arrangement of this kind is rarely met with, and well demonstrates that 
even an academically designed building can carry a traditional roof without loss of 
stateliness. 

The design generally has been well thought out; reference to the plan (below) 
will show how the older stable and other out-buildings were brought into relation 
with the house. On the east and west sides are the beginnings of segmental arcades, 
which were to connect the main block to the out-buildings, but were never com- 
pleted. ‘The plan of the forecourt is interesting. 


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BARNARD CASTLE, 


ad yr 


TuoucH Butter Markets are hardly domestic buildings, except in a very indirect 
way, they are usually small, and often very unpretentious, and thus have not received 
the attention they sometimes deserve. ‘This, and the plate of Bungay which follows 
it, have been included as two Renaissance examples, because of their architectural 
interest and their original treatment. 


95 


BuNncAy BuTTER MarkKET, 1789. 


96 


THE MASONIC ROOMS, 
BLANDFORD FORUM 


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THE interesting part of this building, date about 1750, is the large bay window 
abutting upon the street. The architraves, pilasters, etc., are in wood, and deserve 


to be recorded in a measured drawing. 


97 S, 


THE OLD HOUSE, BLANDFORD FORUM, 


DORSET 


THIS curious and interesting structure, from its position in the outskirts of the town, 
escaped the fire which almost destroyed the town early in the eighteenth century. 
It is said to have been built in 1660 by Dr Joachim Frederic Saggitary (who died at 
Blandford in 1696, aged eighty years). ‘Though the elaborately designed front is 
very one-sided and unsymmetrical, the block taken together makes a quite regular 
whole. ‘The carefully executed rustication, the splendid roof, and the bold, if rather 
unorthodox chimneys, produce a very striking effect: the arrangement of the roof- 
covering material, upper half of tiles and lower half of stone slates, is probably unique, 
and was surely dictated by the huge size of the roof itself. A regular progression of 
stone slates properly diminishing from the top course would have made the lower 
courses of an impossible scale. Within the house there is a good staircase, and some 
very well panelled rooms. 

Compare the cornice of this house with that of the Garden House at Poundisford 


Park (p. 149). 


THE FREE SCHOOL, WATFORD, 


HERDS 1704. 


Tus school is situated close to the Parish Church; over the entrance door are the 
arms and crest of Chilcott, carved in stone, and beneath the inscription, which records 
the date of the school’s foundation: 


‘“ANNO DNI; 1704. THIS FREE SCHOOL WAS BUILT AND ENDOWED FOR THE TEACHING 
OF POOR CHILDREN AT THE PROPER COST OF MRS ELIZABETH FULLER, OF WATFORD PLACE, 
THE ONLY DAUGHTER OF MR JOHN COMYNE, ALIAS CHILCOTT, OF TIVERTON, IN DEVON- 
SHIRE, AND OF LONDON, MERCHANT, WHO DYED YE II1TH OF NOVBR., 1709, AGED 65. 
SILVESTER CHILCOTT, GENT., BROTHER OF THE FOUNDRESS OF THIS SCHOOL, HAS MADE 
AN ADDITION OF {20 A YEAR FOR EVER.’ 


On the ground floor, in addition to the boys’ schoolroom, is the Trustees’ room 
and a kitchen. . The first floor is divided into five rooms: two of these were allotted 
to the master, two to the mistress, the fifth having been used as the girls’ schoolroom ; 
over these are the attics. 

It is interesting to note that the endowment of the school amounted to only {52 
per annum, and on this we are to believe that not only were the master and mistress 
supported, but also forty boys and twenty girls were clothed (or “partly clothed,” 
as the Deed says) and provided with books, the necessary firing and lights procured, 
repairs to the building carried out, and “‘a proper dinner”’ provided once a year for 
the scholars and Trustees! As years went on this meagre endowment was found 
insufficient, and from time to time various additions were made by benefactors, until 
in 1868 the original endowment was increased to about {230 per annum. 

The Free School was finally closed in 1882, and the building was afterwards 
purchased by subscription and handed over to the Vicar to be used for Parish 
purposes. 


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THE FREE ScHOoL, WarTorp, HERTS. 


DITCHINGHAM HALL, NORFOLK, 
102 


ft aie eee 


LOU She Als DIRCHINGHAM 


NORFOLK 


(SHOWN OVERLEAF) 


THE admirable handling of the brickwork in this house gives a special interest to an 
otherwise ordinary front. ‘The two kinds of bricks used are reds and brindles, the 
red dressings to the angles and windows are rather wider than is usually the case. 
Facing this page is a view of a later house in the neighbourhood (Ditchingham Hall) 
treated in much the same manner. 

Below is a view of an Inn at Newent, with wood mullioned windows and a good 
hood; the brickwork has been whitewashed over. 


Tue ‘“ Brack Doc” INN aT NEWENT. 


103 


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- 


104 


THE TOWN HALL, AMERSHAM, 


BUCKS 


AMERSHAM is one of the few towns left in England that when this book was first 
published had not been robbed by modern necessities and usage of that indescribable 


feeling of antiquity and rural quietude which are always associated, rightly or wrongly, 
with the lesser known country towns. It still possesses a wide main street lined with 
old houses, and with a Town Hall or Market-house standing alone in mid-road. ‘This 


105 14 


Town Hall, which was built in 1682 at the expense of Sir William Drake of Shardeloes, 
has evidently not been altered in any respect. Brown Willis, writing in the latter half 
of the eighteenth century, says of it, “a very 
neat Town Hall, which is the handsomest in the 
country, the building being of brick, standing 
on arched pillars, and embellished with free- 
stone at the corners, with a lanthorne and 
clock at top.” ‘The setting out and design of 
the windows on the south front, shown in the 
illustration, are very good. At the north end 
of the town are some neat almshouses founded 
by the Drake family in 1617. 

Amersham seems to have been an im- 
portant place in the seventeenth century: John 
Hampden presided here as a _ magistrate, 
Edmund Waller, the poet, sat as member for it 
during three Parliaments, and Richard Baxter 
devoted much attention to the inhabitants dur- 
ing his Nonconformist propaganda. 

Near Amersham is Chesham, also with a 
quaint ‘Town Hall (illustrated here). 


THE SCHOOLHOUSE, RISER 


DERBYSHIRE 


BUILT in 1706 at the expense of Mrs Elizabeth Gray, 
whose monogram is over the doorway. ‘This house 
was previously used as a rectory, but is now a master’s 
house. 

The whole makes a fine rectangular block, and 
the details and carving are good; the heads on the 
key-blocks, representing Ceres, Pomona, and other 
deities, are very well done. Internally the building 
has been completely altered. 


| Sart Z ae 
STONE MONOGRAM RISELEY 
a ee 


106 


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SMOdNIM YFddi/ 
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‘OLA NOLLWAGTY INOW] 


“ASIST ~ ASAOLT~ TOOHOC [LA 


“SMOGNIM YFMO7 * FAVYALINOSY 


107 


REDDISH HOUSE, BROAD CHALKE, 


WILTS 


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REDDISH *HOVSE: BROAD - CHALKE - WILTSHIRE = 


Tus charming little front has suffered somewhat by the removal of the original wood 
cornice, and the substitution of a brick one of little projection and poor design. ‘The 
restoration of the cornice has been made in the drawing. 


108 


HEALE HOUSE, WOODFORD, 


WILTS 


HOousE IN THE CLOSE, SALISBURY. 


HousE AT ARUNDEL, SUSSEX. 


Heate House, though a good deal pulled about by alterations, still retains some 

architectural character. It was built about 1700. The houses in the Close at 

Salisbury and at Arundel illustrate fairly common types of bay-windowed houses, ~ 

while overleaf (House at Halesworth) is shown a later example. 
10g 


LONGNOR HALL, NEAR SHREWSBURY, 
SALOP, AND TWO SUFFOLK HOUSES 


LONGNoR HALL, SALOP. House aT HALESWORTH, SUFFOLK. 


Door, LONGNoR HALL, SALOP. HousE AT SAXMUNDHAM, SUFFOLK. 


Loncnor Hatt, date 1670, shows brickwork with stone dressings, and a well-designed 
doorway. The house at Halesworth gives another example of a symmetrical arrange- 
ment of bay windows, later than those shown on p. I09, 


IIO 


HOUSE NEAR THE CHURCH, 
NEWENT, GLOS. 


itil) 


at ae a eB 


ALTHOUGH built of the very simplest materials, and with no elaboration in detail, 


this building is full of charm. 
Many a country town has examples of this work, and the simplicity and restraint 
with which they are handled, and the invariable fitness of design, are constant sources 


of delight. Cf. the house at Saxmundham opposite. 
: III 


THE CUSTOM HOUSE, DARITMOU ie 


me es 


Tus house faces on to the river at the seaward end of the town. ‘The red brickwork 
is now painted white, and the steep roof is covered with small Cornish slates, so 
encrusted with lichen that the joints have almost disappeared and the roof looks like 
one unbroken mass. ‘The sashes of the upper windows have probably been renewed 
at some time, as both sets of windows would have been originally divided up into 
small panes like those on the ground floor. 


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THE + CVSTOM + HOVSE - AT: DARTMOVTH: 1739 


T. R. B., 1905 


112 


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DARTMOUTH. 


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15 


113 


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“AMUUNG ‘ASNOH NOLIVHSUVD 


114 


CARSHALTON HOUSE, 


SURREY. 


Tuts fine specimen of the old English brick mansion was built in 1719 by Sir James 
Fellowes, sub-governor of the South Sea Company, on the site of an older house 
demolished to make way for the pre- 
sent. ‘This older house had been the 
residence of Dr Radcliffe, the founder 
of the Radcliffe Library at Oxford, to 
which he bequeathed £40,000. Dr 
Radcliffe was physician to William 
III, and later to Queen Anne, and 
was famous not only for his great 
skill, but also for his bluntness of 
manner, which spared no rank, how- 
Sven exalted. Sir J. Fellowes, 
to whom Aubrey dedicates a map 
in his second volume, paid £3500 
for the property, and in addition 
to building the house, laid out the 
grounds in a formal manner, and caused the garden pavilion to be erected. 

The house is now (1905) occupied as a convent, and some of the buildings, notably 
the Dovecote, have been already destroyed. Most of the interior work is in good 
preservation, and like the Blue Parlour, 
given on p. 120, extremely scholarly 
and refined. The same can hardly be 
said of the Water Pavilion (pp. 118 
and 119), at least so far as its semi- 
Gothic tower is concerned; neverthe- 
less, this is a picturesque block, quite 
in a class of its own, and it is to be 
hoped it will be preserved. 

Beneath the tower is a pumping 
engine, dated 1784, worked by a water- 
wheel in the River Wandle, which flows 
under the Pavilion; water is thus pumped 

CAMBLESFORTH HALL, YorKS. up to the tank on the tower. The plan 
of the Water Pavilion is given on p. 118. 
Camblesforth Hall, shown here, is another of these fine brick houses. 


y) 
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Brass Door PLATE AND HANDLES, BLUE PARLOUR, 
CARSHALTON. 


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116 


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117 


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118 


SECTION A A 


WEST ELEVATION 


THE WATER PAVILION, CARSHALTON HOUSE. 


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120 


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It was founded in 1721 by Sir William Bowyer of Denham Court, 


Tuis little building is notable for the 


floor windows. 


Baronet, who left £30 a year for the school. 


16 


25 


STABLES AT FROGNAL, SIDCUP, 


KENT 


FROGNAL, anciently Frogpool, is a large brick 
R. Marsham-Townshend. Originally it ha 


mansion, now the property of the Hon. 


d many gables, but these have been 


removed, and, though the house still 
presents a fine block of red brickwork, 
there is not much of architectural in- 
terest in what remains. 

The stables, however, have not 
been tampered with, and are very good 
specimens of the kind of work that was 
thought necessary for the offices of a 
large country mansion. 

The whole of the ground floor on 
the front is filled by one large stable 
with carefully designed oak fittings; 
the coach-houses are roofed with lead 


flats. ‘The stable-yard at the back is nicely set out with low buildings all round, and 
a dovecote with a well-designed cupola. ‘The turret of the stable building itself is a 
good one of its kind. ‘The view in the text shows some stables at Bucklebury. 


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CASEMENT FASTENING 


ScHOOL, AYLESBURY. 


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See p. 124. 


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ll he left “‘ £5000 to purchase lands of inhe 


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front was built in 1719, 
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HousE AT NEWENT 1695. 


The lower windows here have been altered, sashes being substituted for the 
older wood mullions and leaded lights. 


125 


CHAPEL AT STANDISH HALL, 


NEAR WIGAN 


CHAPEL AT STANDISH HALL, Cuurcu aT Upper Dear, KENT. 


THIS very severe little building is typical of the brick ecclesiastical architecture of 
the middle of the eighteenth century. It is essentially of the meeting-house period, 
dated 1742. ‘The roof is covered with Lancashire stone slates, and a small view of 
the building is given above. 

The Church at Upper Deal, shown for comparison, is of the same manner, 
though it is not quite so severe. 


126 


—~— papel at Standish Hall, 
ancashire 


PF ER 


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127 


*“RYVES ALMSHOUSES, BLANDFORD 


FouNDED in 1682 by Sir George Ryves of Damary. 
‘Towards the street this building presents a long, low 
front, with a big roof and heavy chimney-stacks, the 
windows of the upper floor looking out at the back. 
The roof is of tiles, but, as is commonly done in 
Dorset, large stone slates are used as an eaves course 
and to cover the thickness of the front wall. The 
tablet and shield over are well designed and executed. 
Other carved shields from the Town Hall at South 
Molton, in Devon, and from a gravestone at Yarwell 
Church, Northants, are shown for comparison. Also 


illustrated below is a small block of almshouses at 
Whitchurch in Salop. 


SOVTH:-MOLTON:A- SHIELD: 


128 


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WRENCOTE, CROYDON, 


6. 1720 


Tuts house, which is situated in High Street, Croydon, has so many points in common 
with Carshalton House, which is only a few miles away, that it is reasonable to suppose 
that they both came from the same hand. ‘The section of the cornice is very simular, 
and the return modillions to the inner breaks over the pilasters are omitted exactly 
as at Carshalton. ‘The pilasters themselves and the treatment of the sills have also 
a strong relationship to those of the larger house. 

There is a fine hall and staircase and some good panelling in this house. ‘The 
unusual mansard over the wings is curious. 


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FOXDENTON HALL, 


LANCASHIRE 


In the flat parts of Lancashire there are a few examples of Later Renaissance houses. 
Foxdenton Hall is on the outskirts of Oldham, and, though it is now only occupied 
by mill hands, it was once an important mansion. The front shown has this peculiarity 
that the windows have been spaced out at equal intervals right across the front, the 
fact that the spacing in the wings should be treated apart from the rest having been 
quite ignored. 

The roof has stone slates, and the cornice, door, and hood are of wood. The 
basement is of rubble walling with mullioned windows, a common arrangement, even 
in quite late houses. 


BISHOP SETH WARD’S HOSPITAL, 
BUNTINGFORD, 


1689 


Tuis delightful little building, like the better-known College of Matrons at Salisbury, 
owes its existence to the munificence of Bishop Seth Ward, who was born at Bunting- 
ford in the year 1617. He learnt the rudiments of learning at the Grammar School 
in his native town, and thence removed to Sydney Sussex College, Cambridge, of 
which he was afterwards chosen Fellow. 

Upon leaving the University he was for some time tutor in several families, and in 
1649 was appointed Savilian Professor of Astronomy at Oxford, a chair subsequently 
occupied by Sir Christopher Wren. During the Civil War and the Commonwealth 
he was imprisoned for his opposition to the ruling powers, but after the Restoration, 
in 1661, he was made a Fellow of the Royal Society and Dean of Exeter, being sub- 
sequently promoted to the See. 

Afterwards made Chancellor of the Order of the Garter, by his influence he 
occasioned that office to be annexed to the See of Salisbury, to which he was translated 
in 1667. 

For some time before his death in 1689 he lost his reason, and exhibited a melan- 
choly picture of mental imbecility; he is buried in Salisbury Cathedral. 

153 


In addition to the two foundations mentioned above, he instituted four scholarships 
at Jesus College, Cambridge, open to natives of Hertfordshire who had been educated 
at the Grammar School at Buntingford. Like the College of Matrons, the plan of 
this building is composed of a main block and two projecting wings. An examination 
of the drawings will reveal many similarities in the details, but there is more restraint 
and simplicity in the Buntingford example, excluding the probability that the two 
were designed by the same hand. ‘The plan is here shown. 


: lo oH 10 15 20 25 Zo 
scale ——E——E————E—E———————————SEEESSS SS 


of feet. 


Three Steps, rising J8 inches lead 
up trom the Road, two without & 
one within the Enclosing Wall~ 
The Pavors are of Portland Stone- 
The Cobbling 1s of Flint Pebbles. 


| Parlour: Reet 


Parlour: 


eecistes 


fb. 


Plan of B? Seth Ward's Hospital at Buntingford to show the 


134 


B?SetruH Warp’s HosprtaL: BVNTINGFORD- 


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COLLEGE OF MATRONS, SALISBURY 


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Tus, the Widow’s College or Collegium Matronarum, was built by Bishop Seth 
Ward in 1682, and endowed with revenues for the maintenance of ten widows of 
clergymen of the Established Church. It stands within the Cathedral Close, and, for 
interest, well holds its own among the many excellent Renaissance buildings adjoining. 
St John’s Hospital, Heytesbury, near Salisbury (shown in the upper illustration 
opposite), is also a well-designed almshouse. 


136 


ST Joun’s HospitaL, HeyTeEspury. 


COLLEGE OF MATRONS, SALISBURY. 


137 


dats dtsehasadsdee.. 


18 


CLIFFORD CHAMBERS, NEAR 
STRATFORD-ON-AVON 


SITUATED on the river Avon. The house itself was built prior to the Renaissance 
period, therefore the Plate illustrates a later addition to the main structure. 

The central portion of the front, for the most part, encloses the entrance hall and 
staircase, the left-hand wing encloses rooms of an earlier period than the front itself, 
and at the time the building was measured the right-hand wing had not been com- 
pleted internally, being left without plaster, panelling, or finishings of any kind after 
the walls and roofs necessary to complete the external facade had been built. 


ai) 


CLIFFORD » CHAMBERS = NEAR -STRATFORD-ON-AVON® 


BROMLEY COLLEGE, 


KENT 


FOUNDED in 1666 by John Warner, Bishop of Rochester, and built in 1670 for twenty 
widows of poor clergymen, each inmate to be allowed {£20 a year, and the chaplain {50. 
The fine Portland stone entrance is a good’ piece of work, which might have been 
designed by Wren, though there is no evidence of this other than in the work itself. 


140 


. * ae 


Ot ee SPD 


it 
MULAN 
i 


Doorway, BROMLEY COLLEGE. 


T41 


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143 


A: WINDOW 


ALMSFOVSE 
WORMINGHALL 


BVCKS 
ANNO-DOMINI - 1675 — 


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HOUSE NEAR THE MAISON DEE: 
DOVER 


DaTING from 1665, this is another specimen of robust and interesting brick-work, 
The pilasters are a trifle finicking, and the original entrance door is badly missed, but 
the work is good, and as one of a rather rare type, it is to be hoped the building will 
not be further injured. 


145 


TOMKINS’ ALMSHOUSE, ABINGDON, 


ALMSHOUSE 


i733 


ABINGDON is justly famous for its architecture. 
Not the least interesting are the Almshouses, 
of which there are several. 

The southern block of Christ’s Hospital is 
a bold piece of design, in which the most has 
been made of the different materials available; 
the mixture of red bricks with vitrified ends 
and a small amount of rubbed work to the 
central feature and over the arches produces a 
most effective result. 

The Tomkins’ building has much the same 
treatment of materials; the drawing shows the 
entrance gate piers, and the curious archway 
and clock tower at the back. Between these 
two is a long and narrow quadrangle, with sets 


AT SUTTON COURTNEY. of lodgings on either side. 


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The upper illustration shows a portion of a small Almshouse at Sutton Courtney 


in Berkshire that has somewhat similar brick-work. 


THE GARDEN HOUSE, 


EBRINGTON 


SITUATED in the gardens of Ebrington Hall, which were formerly of considerable 
extent, laid out here with a terrace and long pond, bordered on each side by high 


box hedges. The pond is now without water 
and is partially filled up. 

From the east, or principal, front of the 
Garden House a view down the length of the 
long pond and terrace was obtained. 

Within the last forty years this building has 
been somewhat altered, the position of the fire- 
place has been changed and the south chim- 
ney-stack built; the outbuilding on the north 
side has also been erected, and the semicircular 
flight of steps leading to the entrance door 
removed. 

In the Plate these modern alterations have 
not been shown, and the two dormers in the roof 
have been omitted. 

The principal room on the ground floor is 
panelled, and has a fine plaster ceiling, a photo- 
graph of a portion of which is given. 


It is interesting to note that the window openings on the north front have stone 


mullions and transomes. 


147 


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148 


GARDEN HOUSE AT POUNDISFORD 
PARK, NEAR TAUNTON, 


SOMERSET 


Tus is a simpler and less pretentious piece of garden architecture than the building 
shown on the preceding Plate; it is also earlier, probably about 1675. 

The fine cast-lead tank at Poundisford Park (see next page) is a good example of 
a craft which flourished in the seventeenth and eighteenth centuries. 

Being in a cider county, it is quite properly decorated with a frieze showing the 


processes of cider making. 


149 


LEAD Work, POUNDISFORD PARK, TAUNTON. 


150 


HOUSE eal ASHBURTON, 


DEVON 


ae > 
a 


a 


THE small Cornish slates are very suitable for wall-hanging, as they have a soft texture, 
which, like that of the Kentish tiles, soon acquires a beautiful weathering. ‘The carver 
of the ornament on the cornice here evidently found it hard to give up his traditional 
patterns, for he has cut upon the top member the Gothic flowing vine so commonly 
seen on West Country screens. 


I51 


HOUSE AT BRIDLINGTON, 


YORKSHIRE 


In the larger part of the North and East Ridings of Yorkshire, brick is the staple 
building material, yet really interesting brick-work is not easy to find. ‘This example 
from Bridlington proves that this designer at any rate fully understood the capabilities 
of the material he was using. 

In the building as it now exists the extreme left-hand window has been cut down 
to form a modern doorway; this door has been omitted in the Plate and a window 
substituted. 

It is most instructive to note that the effect of symmetry is not lost, even though 
the central feature is not really central. Compare Linden House, Cirencester (p. 61). 

The cornice is of wood with bold carving in the coved portion. 

The small illustrations show some early brick-work at Burneston, near Ripon, in 
Yorkshire, which is particularly bold and effective. 


ALMSHOUSES AT BURNESTON, YORKS. DETAIL AT BURNESTON. 


152 


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OwING to the paucity of good building stone, East Anglia abounds in specimens of 
excellent brick-and- plaster work. ‘The bricks used are invariably of good colour and 
texture, and small in size, brick-work rising as much as four courses to the foot being 
extremely rare in old work in this part of the country. 

This house and the one shown on the following Plates, both of which are in the 
same street, give a good idea of the simple and dignified effect that a careful arrange- 
ment of humble materials can produce. The rather high attic storey on this house 
gives it a “blocky” appearance, which is not unpleasing. The cornice is of wood. 


154 


A House aT BECCLES, SUFFOLK. 


155 


A HOUSE ADT @BECGEES 


SUFFOLK 


Tus house is of considerably later date than the preceding one; probably about 1780. 
The brick pilasters, widely spaced as well as very wide in themselves, seem almost to 
lose their function as pilasters and become mere buttresses, helping to divide up the 
front into a centre and two wings. 

The door, here shown, is a beautiful piece of refined detail. 


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157 


STANFORD DINGLEY RECTORY, 


BERKS 


THIs is a good specimen of the small country house, sound in construction and design, 
and full of traditional feeling. 

The building has exactly the amount of architectural element necessary to NG 
it from dullness. A detail of the door is given on p. 183. 


RUTLAND LODGE, PETERSHAM 


In many brick houses of this period much of the charm they possess lies in the colour 
of the brick-work and the variety which was obtained by the use of different kinds 
of bricks. 

A photographic reproduction can give but little idea of these qualities; nevertheless 
it serves to show the good design and excellent workmanship at Rutland Lodge, which 
is quite the best of the Renaissance houses at Petersham. 


158 


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RUTLAND LODGE, PETERSHAM, 


159 


TWO HOUSES AT SAWBRIDGEWORTH, 


HERTS 


Two admirable little street fronts of a date about 1740, together with a sketch of a 
house at Much Wenlock in Shropshire, showing a variation of the usual type of window 
treatment. i 


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Many houses of this type are to be found in country towns, they are usually quite late 
in date, about 1760, but invariably possess a dignity and restraint which are wholly 
admirable. Here the lower sash-windows are modern. 

162 


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HOUSE AT GUILDFORD, 


SURREY. 1732 


Tus well set-out and proportioned facade is situated in a by-street at the back of 
Abbott’s Hospital. The pilasters of the doorway stand upon pedestals, a very unusual 
arrangement at so late a daté as 1731. The door itself is deeply recessed, and with 
the panelled reveals makes an effective piece of work. 

The house at Loddon, shown below, is a little similar to this house, though rather 
clumsy and much later in date. 


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165 


STREET AT WEST WYCOMBE 


SMALL brick houses of the seventeenth and eighteenth centuries abound in many a 
village street, and the early ones invariably have some distinctive point of interest 
about each. Of the two houses at Wootton Bassett (see p. 163), one is a typical village 
inn, with an arched entrance to the yard, the other an equally typical village professional 
man’s house. 

At West Wycombe is a rare example of a large coved cornice placed between the 
ground- and first-floor windows. This treatment is common enough where there is a 
shop on the lower floor, but is unusual as shown here. 


166 


fee OLD CHURCH, UPTON-ON-SEVERN 


PeePRIDGE AT 


BERKS 


THE picturesque little bridge at Newbury 
serves to record the architectural character 
with which all building work was endowed 
during the seventeenth and eighteenth 
centuries—a character often sadly lacking 
at the present time where bridges are 
concerned. 


Tus church was built in 1757 to re- 
place a Gothic building, the decorated 
tower being retained and surmounted 
with a Renaissance cupola. A new 
church was built about rgor, and this 
building was abandoned, so that it is 
now falling into ruins. 


NEWBURY, 


TWO HOUSES AT HIGH WYCOMBE 


race Fen 


~ verwy 
TRESES ELSE R RIAs 


THe HousE WITH THE DIAL, THE WycomseE BANK, 
HicH WycomBE, H1icH WYCOMBE. 


T'wo more provincial town houses. ‘The Bank is a plastered house, and the other a 
brick house painted white. 


168 


— 


A House at Woo.ston, BUCKS. 


Tue Kerron Ox INN, YARM, YORKS. 


THESE are rough-casted houses, one from the south and one from the north, and both 
have a simple scheme of design which gives them interest, though the Inn has been 


much spoilt. 
169 22 


A House at BRIDGENORTH, 
SALOP. 


cain 


OF this group of 
three houses those 
at Bridgenorth and 
Evesham are rough- 
cast, similar to those 
shown on the pre- 
vious page. ‘The 
house at Harleston 
has a brick front 
painted white. 


170 


A House aT HARLESTON, 
NORFOLK. 


feeOwUst IN FHE HIGH STREET, 
TEWKESBURY 


(SEE P. 172, OVERLEAF) 


TEWKEsBuRY is so full of black and white half-timber houses, that before 1897 this 
delightful plaster house was quite a refreshing oasis. Alas! in that year the building 
fell into vandal hands, and suffered the inexpressible indignity of being covered all 
over with floor boards (see next page). 

Fortunately, measurements and photographs had previously been taken, and a 
record thus kept. As a piece of architectural design and proportion it is perfect, and 
it is a sad pity that an almost unique specimen should have been spoilt in so ruthless 
and insensate a fashion. 

The whole of the details are, or were, excellent, and the cast lead rain-water pipes 
and heads, dated 1701, are very well done. 

Below is a sketch of a fine plastered house at Salisbury. 


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A House IN THE HicH Street, TEwKespury. (See p. 171.) 
172 


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Se ee ee See rt ep ey eee 


A PLASTERED? HOUSE 
FRAMLINGHAM 


Most of the East Anglian plaster-work 
occurs in gabled houses, such as the 
example at Parham, here reproduced, 
which do not come within the scope 
of this collection. The Framlingham 
house shown opposite may be taken 
as a good specimen of the later work. 
The shop front and door to the left of 
the central doorway were put in within 
the memory of the present owner, 
windows and panels being removed 
similar to those still existing to the 
right. Above the brick plinth the 
whole construction is of wood, and 
the fact that the building is still in 


PLASTERED 


excellent preservation is a testimony to the protecting 
One of the fine oval panels is shown here. 


House, PARHAM, SUFFOLK. 


value of the plaster. 


HALF SEC TION AA Png GP 
PLASTER ORNAMENT: FRAMLINGHAM :: 


174 


MB 1904 


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A HOUSE AT PARHAM, 


SUFFOLK 


THIs timber-framed and plastered house is not now in the condition shown in the 
drawing, many of the windows have disappeared. The ground floor is drawn as it 
now is, but three windows above have been restored, where breaks in the cornice 
clearly showed their previous existence. It is possible the central window downstairs 
was different, but no trace of any alteration is to be found. 

The remains of the old garden lay-out still exist, and are shown on p. 178. 


176 


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A Doorway at West WYCOMBE, 1722. 


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CAP AND NECKING 


182 


AT no period of architectural 
history has the doorway been 
invested with more importance 
than during the period dealt 
with. It is not amiss, there- 
fore, to conclude this series of 
illustrations with a few simple 
examples. On this page are 
shown a fine wooden doorcase 
and door at Abingdon, and gate 
piers at Ross, in Herefordshire, 
with remarkably bold carving 
and urns. 


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Door AT PAINswI 


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AT STANFORD DINGL 


Door 


Door AT CHICHESTER 


183 


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